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Curriculum Vitae James Norman Grier, FRSC

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Curriculum Vitae James Norman Grier, FRSC Faculty of Music Email: [email protected] University of Western Ontario Telephone: 519-661-2111 EXT 85340 Talbot College FAX: 519-661-3531 London, Ontario N6A 3K7 CANADA Date and Place of Birth: 27 October 1952; Toronto, Ontario. Citizenship: Canadian. Naturalized citizen of the United States. EDUCATION: MusBac Faculty of Music, University of Toronto; Composition, minor in History and Literature; 1975. BA University of Toronto; Latin Literature; 1977. MA University of Toronto; Medieval Studies; 1979. PhD University of Toronto; Medieval Studies; 1985. Dissertation: Transmission in the Aquitanian Versaria of the Eleventh and Twelfth Centuries. ACADEMIC AWARDS: Grasett Memorial Scholarship for Classics (shared); 1976. Moss Scholarship for Classics; 1977. Ontario Graduate Scholarships; 1978, 1979, 1981, 1982. Imperial Order of Daughters of the Empire, War Memorial Scholarship; 1980, 1981. Massey College, Resident Junior Fellow; 1979-82. Associates of the University of Toronto, Travel Grant; 1983. Mount Allison University, Research Committee, Research Grant; 1986. Queen’s University, Principal’s Development Fund, Research Grant; 1987, 1988. Queen’s University, Advisory Research Committee, Research Grant; 1987 (two awards), 1988 (two awards), 1989. Social Sciences and Humanities Research Council of Canada, Research Grant; 1989-90, 1998-2001, 2002-5, 2006-9, 2010-13. Yale University, A. Whitney Griswold Faculty Research Fund Grant; 1990, 1991, 1992, 1993, 1994, 1995, 1997. Yale University, John F. Enders Research Assistance Grant; 1991. Yale University, Morse Fellowship; 1993-94. Yale University, Frederick W. Hilles Publications Fund, subvention for the publication of The Critical Edit- ing of Music: History, Method, and Practice; 1995. University of Western Ontario, Vice-President’s Research Award; 1997. Social Sciences and Humanities Research Council of Canada, Travel Grant; 1998, 2005. University of Western Ontario, Social Sciences and Humanities Research Council of Canada, Internal Re- search Grant; 2001. Institute for Advanced Study, Princeton, Edward T. Cone Member in Music Studies, School of Historical Studies; 2002-3. University of Windsor, Humanities Research Group, Visiting Humanities Fellow; 2003-5. American Council of Learned Societies Fellowship; 2009. National Endowment for the Humanities Fellowship; 2009-10. Killam Research Fellowship; 2009-11. 2 Social Sciences and Humanities Research Council of Canada, Insight Grant; 2014-19. Canadian Society of Medievalists, Margaret Wade Labarge Prize for Ademari Cabannensis Opera Omnia Pars II. Opera liturgica et poetica: Musica cum textibus; 2014. Royal Society of Canada, elected Fellow; 2016. Canadian Society of Medievalists, Margaret Wade Labarge Prize for Ademarus Cabannensis monachus et musicus; 2019. TEACHING EXPERIENCE: University of Waterloo, Department of Classical Studies; lecturer, 1983-85. Mount Allison University, Department of Classics; assistant professor, 1985-86. Queen’s University, School of Music; assistant professor, 1986-90. Cross-appointed to Department of Clas- sics, 1988. Yale University, Department of Music; assistant professor, 1990-94; associate professor, 1994-97. University of Western Ontario, Faculty of Music; associate professor, 1997-99; professor with tenure, 1999-. PUBLICATIONS: BOOKS The Critical Editing of Music: History, Method, and Practice (Cambridge: Cambridge University Press, 1996), pp. xiv, 267. Spanish translation: La edición crítica de música: Historia, método y práctica, trans. Andrea Giráldez, Akal Música, 22 (Madrid: Ediciones Akal, 2008), pp. 232. The Musical World of a Medieval Monk: Adémar de Chabannes in Eleventh-Century Aquitaine (Cam- bridge: Cambridge University Press, 2006), pp. xvi, 367. Ademari Cabannensis Opera Omnia Pars II. Opera liturgica et poetica: Musica cum textibus, 2 vols., Cor- pus Christianorum Continuatio Mediaevalis, 245, 245A (Turnhout: Brepols, 2012) pp. cxxxvii, 699, 468. Ademarus Cabannensis monachus et musicus, Corpus Christianorum, Autographa Medii Aevi, 7 (Turn- hout: Brepols, 2018), pp. 219. ARTICLES: “The Stemma of the Aquitanian Versaria,” Journal of the American Musicological Society 41 (1988): 250-88. “Lachmann, Bédier and the Bipartite Stemma: Towards a Responsible Application of the Common-Error Method,” Revue d’Histoire des Textes 18 (1988): 263-78. “Ecce sanctum quem deus elegit Marcialem apostolum: Adémar de Chabannes and the Tropes for the Feast of Saint Martial,” in Beyond the Moon: Festschrift Luther Dittmer, ed. Bryan Gillingham and Paul Merkley, Wissenschaftliche Abhandlungen, 53 (Ottawa: Institute of Mediaeval Music, 1990), pp. 28-74. “Some Codicological Observations on the Aquitanian Versaria,” Musica Disciplina 44 (1990): 5-56. “Scribal Practices in the Aquitanian Versaria of the Twelfth Century: Towards a Typology of Error and Variant,” Journal of the American Musicological Society 45 (1992): 373-427. “Les pratiques des copistes des versaria aquitains du XIIe siècle,” in Polyphonies de tradition orale: His- toire et traditions vivantes, ed. Christian Meyer, Rencontres à Royaumont (Paris: Éditions Créaphis, 1993), pp. 31-58. “A New Voice in the Monastery: Tropes and Versus from Eleventh- and Twelfth-Century Aquitaine,” Spe- culum 69 (1994): 1023-69. Reprinted in Embellishing the Liturgy: Tropes and Polyphony, ed. Alejan- dro Enrique Planchart, Music in Medieval Europe (Farnham: Ashgate, 2009), pp. 227-73. “Musical Sources and Stemmatic Filiation: A Tool for Editing Music,” Journal of Musicology 13 (1995): 73- 102. “Roger de Chabannes (d. 1025), Cantor of St Martial, Limoges,” Early Music History 14 (1995): 53-119. “On the Critical Editing of Music,” in Irish Musical Studies, 4/5, The Maynooth International Musicological Conference 1995, Selected Proceedings, 2 vols., ed. Patrick F. Devine and Harry White (Kill Lane, Black- rock, Co. Dublin: Four Courts Press, 1996), 2:119-30. “Editing Adémar de Chabannes’ Liturgy for the Feast of Saint Martial,” in Music Discourse from Classical to Early Modern Times: Editing and Translating Texts, ed. Maria Rika Maniates, Conference on Edito- 3 rial Problems, no. 26: 1990 (Toronto: University of Toronto Press, 1997), pp. 17-43. Revised and up- dated version in Plainsong and Medieval Music 6 (1997): 97-118. “Scriptio interrupta: Adémar de Chabannes and the Production of Paris, Bibliothèque Nationale de France, MS latin 909,” Scriptorium 51 (1997): 234-50 and plates 17-27. “The Divine Office at Saint-Martial in the Early Eleventh Century: Paris, BNF lat. 1085,” in The Divine Office in the Latin Middle Ages: Methodology and Source Studies, Regional Developments, Hagio- graphy, Written in Honor of Professor Ruth Steiner, ed. Margot E. Fassler and Rebecca A. Baltzer (New York: Oxford University Press, 2000), pp. 179-204. “The Mothers of Invention and Uncle Meat: Alienation, Anachronism and a Double Variation,” Acta Mu- sicologica 73 (2001): 77-95. “Liturgy and Rhetoric in the Service of Fraud: Adémar de Chabannes and the Apostolicity of Saint Mar- tial,” in Latin Culture in the Eleventh Century: Proceedings of the Third International Conference on Medieval Latin Studies, Cambridge, September 9-12 1998, 2 vols., ed. Michael W. Herren, C. J. McDon- ough and Ross G. Arthur, Publications of the Journal of Medieval Latin, 5 (Turnhout: Brepols, 2002), 1:384-97. “Adémar de Chabannes, Carolingian Musical Practices, and Nota Romana,” Journal of the American Mu- sicological Society 56 (2003): 43-98. “The Music is the Message: Music in the Apostolic Liturgy of Saint Martial,” Plainsong and Medieval Mu- sic 12 (2003): 1-14. “The Musical Autographs of Adémar de Chabannes (989-1034),” Early Music History 24 (2005): 125-68. “Authority of the Composer, Authority of the Editor,” in Nordic Music Editions: Symposium 1-2 Septem- ber 2005, ed. Niels Krabbe (Copenhagen: The Royal Library, 2006), pp. 17-29. “The Music is the Message II: Adémar de Chabannes’ Music for the Apostolic Office of Saint Martial,” Plainsong and Medieval Music 15 (2006): 43-54. “An Urbane Fraud: Limoges and Adémar de Chabannes’ Liturgy for Saint-Martial, 3 August 1029,” in Saint-Martial de Limoges: Ambition politique et production culturelle (Xe-XIIIe siècles), ed. Claude Andrault-Schmitt (Limoges: Presses Universitaires de Limoges, 2006), pp. 455-67. “Biblical and Classical Imagery in the Liturgical Poetry of Adémar de Chabannes (989-1034),” Journal of Medieval Latin 16 (2006): 76-94. “Adémar de Chabannes at the Nexus of Tradition and Innovation,” in Identity and Locality in Early Euro- pean Music, 1028-1740, ed. Jason Stoessel (Farnham: Ashgate, 2009), pp. 13-26. “The Reinstatement of Polyphony in Musical Composition: Fugal Finales in Haydn’s Op. 20 String Quar- tets,” Journal of Musicology 27 (2010): 55-83. “Ego and Alter Ego: Artistic Interaction between Bob Dylan and Roger McGuinn,” in Sounding Out Pop: Analytical Essays in Popular Music, ed. Mark Spicer and John Covach, Tracking Pop (Ann Arbor: Uni- versity of Michigan Press, 2010), pp. 42-62. “An Editor of Medieval Music Looks Backwards . and Forwards: The Critical Edition of Music Written in the Hand of Adémar de Chabannes (989-1034),” Philomusica 9 no. 2 (2010): 1-9 <riviste.paviauniversitypress.it/index.php/phi/article/view/643/pdf_3>. “Hoax, History, and Hagiography in Adémar de Chabannes’s Texts for the Divine Office,” in Representing History, 1000-1300: Art, Music, History, ed. Robert A. Maxwell (University Park, PA: Pennsylvania State University Press, 2010), pp. 67-72. “Adémar de Chabannes and
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    Jesus † Mary † Joseph Chapter 47 - The Progress of Temptations Christ: My child, watch yourself especially at the beginning of a temptation. You will find it easier to overcome the enemy if you resist him at once. Stop him at the threshold, at the very moment when he knocks. He spoke wisely who said, “Resist beginnings; all too late the cure when ills have gathered strength by long delay.” Though it is never too late to turn to Me, you will find it harder to do so, the longer you linger with a temptation. 2. First a simple thought will slip into your mind. This is followed by a strong imagination. Then comes delight, then an evil inclination, and lastly, consent. Thus, little by little, the enemy gains full entrance into your soul, when he is not resisted in the beginning. Think: Many a ruined life could have been prevented, if only one had been wise enough to follow this advice. Too many take chances and linger too long at some pleasure, trying to enjoy as much as possible without falling into the evil that is there. People are so afraid of missing something. And so, they step closer and closer to actual sin, until, like a waiting spider, it reaches out and entangles them. Pray: O Holy Ghost, my God and Sanctifier, in Thee I hope for the wisdom to recognize sin before it overcomes me. Grant me strength to resist whatever would draw me into sin. I would have less faults and sins today if I had turned away from temptation at its very start.
  • Masarykova Univerzita Filozofická Fakulta Seminář Dějin Umění Filip

    Masarykova Univerzita Filozofická Fakulta Seminář Dějin Umění Filip

    Masarykova univerzita Filozofická fakulta Seminář dějin umění Filip Kyrc Local Saints, Global Roads, and Images Magisterská diplomová práce Vedoucí práce: doc. Ivan Foletti, MA 2017 Čestne prehlasujem, že som magisterskú diplomovú prácu vypracoval samostatne s využitím uvedených prameňov a literatúry. ……………………………… Podpis autora práce I am using this opportunity to express how much indebted I am to my colleagues, friends, and beloved family for their help. Foremost, I am very grateful to Ivan Foletti, my advisor, for his continuous support, knowledge, infinite patience, and inspiring enthusiasm. I am indebted to Ondrěj Jakubec, head of the Departmend of Art History, for his goodwill and gift of time. My sincere thanks also go to staffs of libraries in Rome and Poitiers, who kindly opened doors for me. I am thankful to my friends Agnese, Alžběta, Jana, Martin, Pavla, Sabina, Sandrina, and Zuzana from Via Giorgio Vasari 6, you were a pleasure to live with; to Amália for keeping my sanity; and to Katarína for her readiness and photographies. Particular I owe the great debt of gratitude to my parents for their generous and endless support. Last but not the least, my greatest debt is to Janka Gazdagová for everything and more. Thank you. Contents Introduction ....................................................................................................................... 9 1. State of Research ........................................................................................................ 11 From the Nineteenth Century to Constitution